![]() When the sound of children’s voices was required, Scott headed down to his daughter’s school and recorded the melee at home-time. Scott’s pursuit of perfection extended to the sound effects heard on the album. If we came back a couple of hours later, they’d still be working it all out.” Benberg, returned to Trident for overdubs before heading to Scorpio Sound in Euston, where the final mix took place “Ken really became part of the band,” recalled Davies, “But he was such a perfectionist that when he tried for a drum sound we’d all walk out and leave Bob Benberg and him to it. When deemed ready, the band, then comprising Hodgson and his co-vocalist Rick Davies, plus bassist Dougie Thompson, synth and sax man John Helliwell plus California-born drummer Bob C. He began to work up the kind of relationship that Eddie Offord had achieved with Yes, and opted to lead them on their quest for their personal Holy Grail – an album that would gain them kudos of the gratifying kind.Ī trip to The Who’s Ramport Studio in Battersea was arranged and the basic tracks were laid down. Scott liked what Supertramp were doing and they bent his ear towards the large amount of material they’d piled up on their homely Sony tape-deck. ![]() Guitarist Roger Hodgson admitted that Indelibly Stamped was far from memorable, saying, “we were floundering.” The band seemed doomed and a split seemed inevitable.īut, somewhere along the way, they decided to try a single and mix it at Soho-based Trident Studio, where they teamed up with producer Ken Scott, an ex-EMI engineer who had since worked with Elton John and co-produced such albums as Hunky Dory, Ziggy Stardust, Aladdin Sane and Pin-Ups with Bowie. Disillusioned, Supertramp re-emerged in 1971 with Indelibly Stamped, an album most only remember for its cover depicting the bosom of tattooed lady Marion Hollier.
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